
COPYRIGHT, 1893, BY WALTER H, BAKER & CO. 



BAKER'S DARKEY PLAYS 

Edited and arranged for 2>ubhcation from the well-known repertoire of 

"SCHOOLCRAFT AND COES" with all their original 

"gags" and " stage business." 

BY GEO. H. COES. 

Price 15 cents each. 



"Luke Schoolcraft" and "George Coes " are too well known to admirers of 
Kegro Minstrelsy to require comment, and tbe following selections from their 
admirable repertory of pieces have no need of other recommendation. No one 
who has seen these artists in any of the following list of sketches needs assur- 
ance of their humor and good acting quality. Twelve are now ready, and others 
"will follow as the demand arises. 

Mrs. DidymtJS' Party. In One Scene. Two male characters. 

Scenje, a plain room. . An immensely humorous trine. Plays 

twenty minutes. 
Music VS. Elocution." In One Scene. Two male characters. 

Scene, a plain room. Always very popular. Flays fifteen minutes. 
Mistaken Identity. In One Scene. Eight male and one female 

characters. Can be played in "white face" if desired. Plays 

fifteen minutes. 
Oh, Well, It's No Use. In One Scene. Three male characters. 

A very funny sketch, full of genuine darkey humor. Plays 

twenty minutes. 

Here She Goes, and There She Goes. In One Act. Eight 

male and one female characters. An uproariously funny piece 
of great popularity. Plays twenty-five minutes. 
A Finished Education. A Finale for the "First Part" of a 
Minstrel Entertainment. Three speaking characters. No change 
of scene 
Black Blunders. In Two Scenes. Nine males and three females.. 
Scenery simple; costumes eccentric. Very lively and amusing. 
Plavs twenty-five minutes. 
The Old Parson. A "First Part Finish" for a Minstrel Enter- 
tainment. Six speaking characters. No change of scene. 
Sublime and Ridiculous. In One Scene. Three male characters. 
Scenery and costumes very simple. A sure hit for a good burlesque 
comedian. Plays twenty minutes. 
Everyday Occurrences. A "First Part Finish" for a Minstrel 
Entertainment. Three speaking characters. No change of scene. 
Badly Sold. In Two Scenes*.. Four male characters and supers. 
A very funny piece. Can be played "white face" with equally 
good effect. Plays twenty minutes. 
Our Colored Conductors. In Two Scenes. Three male char- 
acters and ten supers. . This is an uproariously funny " skit " and a 
sure hit. Plays twenty minutes. 



Catalogues describing the above and other popular eniertainments 
sent free on application to 

WALTER H. BAKER & CO., 

THEATRICAL PUBLISHERS, 
No. 23 Winter Street - BOSTON, MASS. 



The Intelligence Office 



a Negro 2Jct in ©tte Scene 



ARRANGED BY 

GEORGE H. COES 



AS PLAYED BY SCHOOLCRAFT AND COES 






^ 



AUG 2 189 
BOSTON 



/^aJ^/^y^^!^^^ 



1894 






(p 



h - 



CHARACTERS. 



Y\ 



v 



Landlord. 

Tenant. 

Ghost. 



PROPERTIES.— A carpet bag. 




Copyright, 1894, by Walter H. Baker & Co. 



THE INTELLIGENCE OFFICE. 



Scene. — An interior. Duplex discovered. 

Duplex. Well, I'm the most unfortunate individual in the 
world. Everything seems to turn against me. No matter what 
I do, or which way I turn, or what kind of business I get into, 
I fail in everything. Now, first I was a clerk in a lawyers office. 
He didn't have clients enough to pay for a bowl of soup. Then 
I tried commercial business. Had no credit, and had to drop that. 
Tried politics. Attempted to make a speech, when I got on the 
wrong stump and they raised me. Then I was a bounty jumper. 
Well, I done well at that until I took a partner, and he jumped off 
with the funds, and that left me broke again. Now, as a last resort, 
I had three dollars in my pockets this morning. I got my break- 
fast, which cost me fifty cents, bought me a Havana cigar, discussed 
that, and walked down street, found this room to let, rented it, and 
opened an Intelligence Office ; and now if I can get a few applicants 
that are fools enough to let me have ten or fifteen dollars, I will 
leave this country and go to New Jersey, or some other foreign 
clime. Well, now I'll get to work writing, and see if I can catch 
somebody. 

{Goes and sits at desk, as enter Steve Smithers, r. h.) 

Smithers. How do you do, boss? 

Dup. (advancing) . How are you, sir? 

Smi. I come here to see if I could get a situation. 

Dup. What kind of a situation would you like to have? 

Smi. Well, I'd like to be a teller in some bank. 

Dup. (looks at him). I couldn't get you a situation as teller in 
a bank, but I might get you a situation as digger in a sand-bank. 

Smi. Well, no, dat don't suit me. I want a place where I can 
handle money. 

Dup. Ah, I see ! I can get you a situation as bar-keeper. Did 
you ever tend bar in this city? 

Smi. No, sir; I never was here before. 

3 



4 THE INTELLIGENCE OFFICE. 

Dup. Could you tend bar? Do you' understand that business? 
I can get you a good situation. 

Smi. Well, look here, boss, I don't mind tending bar, but will 
you guarantee dat after I've been to work a year, I'll own the place? 
I know lots of fellows dat has bought out dere proprietors in less 
time dan dat. 

Dup. No, I couldn't guarantee you anything. If you're smart 
enough at the end of the year to own the place, why you are a 
lucky fellow. You'll have to rely on your ability for that. 

Smi. Well, give me de situation. I'll try it, anyhow. 

Dup. Before proceeding any farther in this business, you know 
my terms. 

Smi. What, Mike Terms, the blacksmith — 

Dup. No, no — my price. 

Smi. Oh, Ned Price, the boxer. Yes, I know him. 

Dup. No, no, no ; you don't understand me. I mean my 
charges. 

Smi. Oh, yes ; how much do you get for the situation? 

Dup. Two dollars — invariably in advance. 

Smi. Two dollars in advance — previous ? 

Dup. I get you the situation for two dollars. 

Smi. {feels all his pockets for money). I got a five dollar bill 
here somewhere. Ah, here it is. There ! 

Dup. {takes it). Five dollars — ah, yes — that's right. What's 
your name, sir? (Puts ifioney in pocket.) 

Smi. Steve Smithers. 

Dup. Come here and I'll book you. {Goes to desk ; business of 
Smithers dropping his hat from his head on the paper Duplex is 
writing on, and picking up Duplex's hat and putting it on his 
head, Duplex remonstrating. This is kept up two or three times, 
when Duplex rises and folds up the piece of paper he has written 
on and advances to front ; Smithers follows.) There, young 
man, you take this piece of paper. You know where Broadway is? 

Smi. Let me see, dat runs along de front of dis house. 

Dup. Yes. You take this piece of paper and go up Broadway 
until you come to Canal Street, then take the Eighth Avenue car 
and go to 125th Street, turn to your right, and take the first saloon 
on your left. Walk right in and hand that note to the man behind 
the bar. 

Smi. {takes paper and looks at it, suspicious). Go up Broadway 
and jump in the canal, and — 

Dup. No, no ; you misunderstand me. Go up Broadway to 
Canal Street, take the Eighth Avenue car, go to 125th Street, turn 
to your right, first saloon on yOur left, walk right in, and give that 
note to the man behind the bar. 

Smi. {starts to go, turns back). Say, I give you five dollars 
just now, and I want my change. You forgot it, didn't you? 

Dup. That's so. Let me see, you want three dollars, don't 
you? 



THE INTELLIGENCE OFFICE. 5 

Smi. Yes, sir. 

Dup. Well, upon my word, I have no small bills. Say, won't 
you be kind enough to stop in when you come back, and 111 hand 
it to you. 

Smi. No, I can carry it myself. Give me the three dollars. 

Dup. My dear fellow, it's much safer in my pocket. Besides, L 
haven't any small bills. 

Smi. It's safe in my pocket ; besides, I may want to use some 
of it 'fore I get back. Give me three dollars. 

Dup. Don't you understand? I've got your money in my 
pocket, and it's much safer with me. You see, there's so many 
thieves, garroters, burglars, pickpockets, and refreshments on the 
road, you might get robbed. So you stop in when you come back 
and I'll give you your money. 

Smi. Yes, if dem fellows rob me and find out I've got nothing, 
dey'll kill me. 

Dup. {pushes him towards r.). No, they will not. Now you 
go on, and stop in as you come back. 

Smi. (comes back). Say, look here, give me ten cents to ride up 
in the cars. 

Dup. My dear fellow, you don't want a copper. You get aboard 
the cars and mention my name to the conductor, and he 11 take you 
anywhere you want to go. 

Smi. Mention your name ? 

Dup. Yes. 

Smi. What's your name? 

Dup. Duplex. 

Smi. Well, look here, Mr. Duplex, don't forget dem three dollars. 
(Exit grumbli)ig. ) 

Dup. (sits at desk). There, I've sent him far enough away. 
Now if I can catch one more for a five dollar bill, I leave this. 

Jane Ann O'Hoolahan (outside, r.). That's a good boy, Mike. 
Here's a couple of pennies for you. Now go home and tell your 
mother to wash your feet. (Elite?- slowly, bowing to Duplex, w/10 
rises and comes forward.) How do you do, boss? 

Dup. (with a goose quill behind his ear ; as he bows it sticks in 
her face). How are you, madam? What is your business with 
me? 

Jane (trying to brush something off her face). There was a 
friend of mine living in the second ward told me there was an In- 
telligence Office just opened at No. 16 Broadway, and I come for a 
situation. Is this the place? 

Dup. This is the place, madam. What kind of a situation 
would you like to have? (Jabs the quill in her face again; she 
brushes it away as before?) 

Jane. Well, boss, I don't know. I think I'd like a situation as 
conductor on the horse railway cars. 

Dup. My dear madam, we have no female conductors on the 
horse-cars. (Jabs again ; she goes to the front brushing her face, 
saying, " Thunder and ounds, how thick the mosquitoes are ! ") 



6 THE INTELLIGENCE OFFICE. 

J ane {comes back again). No? 

Dup. No! 

Jane. Well, boss, Til go as a driver, then. 

Dup. My clear madam, we have no female conductors and 
drivers on the cars. {Jabs her again ; she discovers the quill and 
winks at audience. ) 

Jane. No? Well, boss, I don't care what it is as long as I get 
a situation where I can earn an honest penny. 

Dup. Now, madam, I might get you a situation as nurse. {Jabs 
her attain; she dodges and winks at audience.) Do you under- 
stand taking care of children? {Jabs her again; she slaps his 
face, and he retreats to l. h. ; she follows.) 

Jane {very mad and blustering). Take that, you blackguard, 
you ! 

Dup. How dare you strike me ! 

Jane. How dare I, is it? If you make me mad, I'd give you a 
kick up on the forehead. 

Dup. I never met with such treatment in the whole course of 
my life, madam. What do you mean by — 

Jane {menacingly). What do I mean, is it? If you make me 
mad, I'll give you a rap on the head that'll do you good. 

Dup. She's a perfect Hottentot. 1*11 go for the police and have 
her arrested for assault and battery. 

Jane {threateningly) . I'd give you a kick up in the wrist, you 
divil you. You'll have me arrested ! I'll show you. 

Dup. How dare you strike me in that manner ? 

Jane. How dare I, is it? It's aisy for you to be standing there 
a nodding and prodding and sticking that thing into my eye. 

Dup. {discovers his quill in centre of stage, and finds that it has 
been, the cause of the disturbance ; picks up quill and turns to 
Jane). My dear madam, I beg ten thousand pardons. I was not 
aware I had this behind my ear. 

Jane {cooling). You beg my pardon, is it? Well, I want you 
to leave off your little Jackeen Kadido tricks wid me, and if you 
have a situation for me, give it to me ; if not, I'll go out. 

Dup. {advances to her apparently afraid). My price is two 
dollars, invariably m advance. 

Jane {jumps towards him). What's that ? 

Dup. {frightened). I say my price is two dollars, invariably in 
advance. 

Jane. What's the matter with you? Have you the St. An- 
thony's dance? 

Dup. No, madam, I have not. I assure you. You hit me such 
a powerful blow on my ear it rings like a bell all the time. 

Jane. Well, come here to me, and don't be foolin' wid me. I 
have a five dollar bill here in the heel of my fist, what I saved from 
my last month's wages. ( Takes it out and opens it.) 

Dup. {takes it and puts it in his pocket). Yes, so it is ; that's 
right. 



THE INTELLIGENCE OFFICE. 7 

Jane (aside). Look at him grab it ! 

Dup. What's your name, madam? 

Jane. My name, is it? 

Dup. Yes. 

Jane. Well, sir, my name is Jane Ann O'Hoolahan. 

Dup. I beg your pardon. 

Jane. My name? 

Dup. Yes. 

Jane. Jane Ann O'Hoolahan. 

Dup. (goes to desk). Come here and Til book you. 

Jane (to audience) . The big thief. He looks like a pair of tongs. 

Dup. Let me see, madam. How do you spell your name? 

Jane (astonished) . And can't you spell it ? 

Dup. No, I cannot. 

Jane. A smart man you are to be keeping an intelligence office, 
and can't spell a lady's name. 

Dup. You see, madam, your name is very peculiar. I never 
heard it before, so you'll be kind enough to spell it. 

Jane. Well, boss, you write it down, and I'll spell it for you. 

Dup. All right. 

Jane. Are you ready, boss? 

Dup. Yes. 

Jane. Well ! J — a — jay, h — a — Jahanna. 

Dup. (writes). Johanna! 

Jane. O — ho — h— o — ho, — ho — ho — ho — ho — hoolagan. 

Dup. All right. Let me see, madam, where are you from? 

Jane. Where am I from, is it ? 

Dup. Yes. 

Jane. Well, sir, I am from the city of Cin — shin — nat — ta — ha. 

Dup. From where ? 

Jane. I say I am from the city of Cin — shin — nat — ta — er. 

Dup. Oh, Cincinnati. Let me see — that's in the State of 
Pennsylvania, is it not? 

Jane. Cinshinnater in the State of Pinnsylvania ? 

Dup. Yes. 

Jane. No. sir; Cinshinnati is in the State of O — ho — ho. 

Dup. I beg your pardon? 

Jane. I say Cinshinnati is in the State of O — ho — ho. 

Dup. Ohio. 

Jane. Oh — hi— e, O — hi — e. I haven't the Yankee touch to 
my tongue ; I can't say it like you, boss. 

Dup. (rises from table folding up a piece of paper and /lands it 
/#Jane). There, madam, you take that paper and go out on 
Broadway and take one of the stages. 

Jane. And get arrested for it? 

Dup. No, no. You jump into one of them stages, and go down 
to City Hall Park. Then take the Third Avenue cars, go to Har- 
lem, go over the long bridge, up into Morrisania to No. 514 — 
Mrs. Honeysuckles's. 



8 THE INTELLIGENCE OFFICE. 

Jane. Where? Say, boss, couldn't you say that again, and say 
it aisy? 

Dup. Certainly. You take one of the Broadway stages, ride 
down to City Hall Park, take Third Avenue car, go to Harlem, 
over the long bridge, up into Morrisania, No. 514, Mrs. Honey- 
suckles'^. She is a young widow with two children — a nice lady, 
little to do, a good situation. 

Jane. Listen to the tongue of that fellow ! Well, Til go to 
Mrs. Honeysuckles's, boss. {Goes towards the door R., stops and 
comes back.) Hold on ! Hold on ! Not so fast ! Look here, boss! 

Dup. Well, madam, what do you want? 

Jane. Say, boss, I gave you a five dollar bill a while ago, and 
you said your price was two dollars. 

Dup. So you did; I'd quite forgotten it. {Feels in his pocket, .) 

Jane. Well, you see I didn't, boss. 

Dup. Well, I haven't got any small bills about me. Won't you 
be kind enough to stop in as you come back, and I'll give it to you. 

Jane. Is it all right, boss? 

Dup. Certainly, ma'am. You don't doubt my honesty? 

Jane {looking at him hesitatingly). No. {Aside.) Nor your 
rascality either. {Starts to go.) Well, good-day, boss. 

Dup. Good-day, madam. 

Jane. Hold on ! I say, boss, it's a long distance up to Mrs. 
Honeysuckles's, and my shoes is bad. Couldn't you give me a five- 
cent piece to ride in the cars ? 

Dup. My dear madam, you don't want any money. All you 
have to do is to get in the cars and mention my name to the con- 
ductor, and he'll set you right down at the door. 

Jane. Yes? And what is your name? 

Dup. Duplex — Livingstone Duplex. 

Jane. Livingstone Duplex and Honeysuckles. That's a funny 
name. {Aside.) Well, I'll go up to Honeysuckles's for the situa- 
tion, and if that pair of tongs is trying to cheat me, by the verge of 
my oath when I come back I'll brain him ! {Aloud.) Well, good- 
day, boss. {Exit r.) 

Dup. {takes his hat and cane and comes forward). There, 
I've got rid of her. I've got ten dollars, and now I think I'll go 
and take a drink. {Starts to go, when Smithers enters R. ; aside.) 
Hallo ! here's my colored friend back again, {to Smithers.) Well, 
you've got back, have you ? 

Smi. Yes, I've got back. 

Dup. Well, you found everything as I told you? 

Smi. Yes ; I went up to Canal Street, got on de cars, and de 
conductor come for de fare, and I said, " Duplex — all right." 

Dup. Yes, that was right. 

Smi. No, it wasn't right. He said, "Give me your fare." I 
told him your name — Duplex; he said, "I don't know Duplex; 
give me your fare or I put you out." And I said Duplex again, and 
he chucked me out of the window. 



THE INTELLIGENCE OFFICE. 9 

Dup. There's some mistake ; there must have been a new con- 
ductor on the cars. 

Smi. I thought there was a big mistake. I landed way out in 
the street. 

Dup. Well, you found the situation all right? 

Smi. Yes, oh, yes. Now look here, boss, dat man don't want 
no bar-keeper. What you give me dis paper for? Take it back. 

Dup. Why, you surprise me. You went to the wrong place. 

Smi. Yes, he surprised me, too. I went whar you told me. 

Dup. Did you find the proprietor in? 

Smi. Yes. 

Dup. What did you say to him ? 

Smi. I went in and told him he wanted a bar-keeper, and he said 
that he didn't ; and told me to clear out, dat he didn't allow niggers 
m dar. I told I wouldn't go out, dat Mr. Duplex sent me here for 
de situation, and 1 was going to work ; and I commenced to pull off 
my Coat. He says, " Go out or I'll throw you out." I told him 
no ; I paid two dollars for the situation, and I was going to work ; 
and at that he raised dat side of sole leather and swung backwards 
and forwards, and I was just fool enough to stand right where it 
stopped every time ; so I got out of there, and 1 have come here 
to get my money. So give me my three dollars. 

Dup. Well, now, I am astonished. Til find out about this, and 
see that you are righted in this matter. 

Smi. Well, here, give me three dollars, and take this paper dat 
ain't worth nothing. 

Dup. I haven't got the change. You see, I haven't been out 
since you was here. I am now going down to the bank to make a 
deposit, and I'll get your change. In the meantime, you stay here 
and look out for my office while I am gone. If any one comes in, 
tell them I'll be back in a few minutes. 

Smi. Well, look here, Mr. Duplex, don't deposit dat three 
dollars, and hurry back with my change. 

Dup. I won't be gone more than ten minutes. 

Smi. Dat fellow's trying to cheat me. I'll stay here, and if he 
don't come back soon, I'll sell his place out to the highest bidder. 
{Goes to desk and commences to write.) 

{Enter Jane.) 

Jane (to audience] aside). Well, I went up to Honeysuckles's. 
She's a young widow and got no children, and don't want no nurse. 
{Looks around.) Now, I think that man wants to rob me out of 
my money. {Goes to desk back of Smithers.) There he is with 
another man's clothes on. I say, boss — boss ! O boss ! Bossy, 
Bossy ! I say, boss, if you don't come here to me, I'll go to you. 
(Smithers donH notice her at all ; Jane goes up and swings her 
foot as though she would kick him.) Boss, I'll rise you if you don't 
speak to me. {Kicks him; Steve jumps up from chair, and both 
go c. front.) 



IO THE INTELLIGENCE OFFICE. 

Jane. Oh, it's a nagur ! 

Smi. You want a situation? 

Jane. Well? 

Smi. Give me five dollars, and I'll owe you three. 

Jane. What are you talking about? 

Smi. Give me five dollars, an' I owe you three. Den you 
get the situation. Go jump in de canal, up 170-nth Street, turn 
around de corner — 

Jane. I went up to Mrs. Honeysuckles's ; she don't want no 
servant. Now I want me money. 

Smi. Give me five dollars, and I owe you three. 

Jane. I gave you five dollars a while ago. The other man — 
where is he? Isn't this 16 Broadway? 

Smi. Yes, this is No. 16 Broadway. 

Jane. Well, I want me money. You're in with that fellow to 
cheat me. 

Smi. I ain't got your money. The other man ain't here. Give 
me five dollars, and — 

Jane {getting nearer and threatening to strike) . Will you give 
me me money? 

Smi. (/tola's up his hands to protect himself). Go away, Irish, 
don't you strike me. 

(Both get very much excited, and talk very loud and fast ; finally 
tJiey both stand up to each other, face to face, so they rub their 
noses together, when Jane gets her face all black, turns to audi- 
ence, keeps talking all the time ; then they clinch, when Jane 
throws Smithers down, then takes him by the coat collar and 
Pants and throws him through set window, R. ; as she turns 
to come forward she discovers Duplex coming from r. She 
throws her arm around his neck and gets him in chancery and 
Pommels him as the scene closes.) 

REMARKS. 

There is a good deal of fine business and points to display, which 
cannot be written down. When it is rehearsed they will come to 
the performers. Duplex should be dressed as Robert Macaire 
style, and act very pompous, like a confidence man. 

G. H. Coes. 



BY THE AUTHOR OP "THE COUNTRY SCHOOL." 



THE DONATION PARTY; 

. . . . OR . . . 

THANKSGIVING EVE AT THE PARSONAGE. 

A COMEDY IN THREE ACTS. 

By MARTHA RUSSELL ORNE, 

AUTHOR OF "THE COUNTRY SCHOOL," "a LIMB o' THE LAW," "A BLACK ~ "" 
DIAMOND," ETC. 

Thirteen male and nine female characters, many of them unimportant. Costumes rus- 
tic; scenery very easy. This is a comedy of character and incident, the plot being wholly 
subordinate and unimportant. As a picture of country life and character it is very faithful 
and humorous, and is sure to arouse sympathy and evoke many a laugh. Aunt Jerushy 
(old maid), Marm Brown (eccentric), Squire Applebee, Bro. Smith, and Old Peters 
(character), and Pete and Phcebe (colored), are sure to be favorites. 

Price 15 Cents. 



BY THE AUTHOR OF "PROF. BAXTER'S INVENTION." 



A Singing School of ye Olden Time. 

AN OLD FOLKS' ENTERTAINMENT IN ONE SCENE. 

t 

By riARY BARNARD HORNE, 

AUTHOR OF "THE GREAT MORAL DIME SHOW," " THE BOOK OF DRILLS," 
" PLANTATION BITTERS," ETC. 

For any number of characters, male and female, old or young. " Dame Plunkett's 
Singing School," as it has also been called, is musical entertainment in the same 
vein as the popular " Country School." is a faithful and humorous picture of the old- 
time institution which it celebrates, and, in the hands of people who love the old tunes 
and learned to sing them in the old way, is bound to be an immense success. Adapted 
to either stage or platform ; scenery, unimportant ; costumes, old-fashioned. Full of 
funny incident and bright lines. 

Price 35 Cents. 



A NEW DRAMA. 



A FISHERMAN'S LUCK. 

A COMEDY DRAMA IN FOUR ACTS. 
By W. P. GETCHELL. 

Six male and four female characters. Scenery, chiefly interiors ; very easy. One 
quick change from interior to exterior of a lighthouse may be made elaborate if desired. 
This is a stirring drama of modern life and character. The scene is laid on the coast of 
Maine, and the characters are rustic and nautical. The fortunes of Tom Manly and 
Rose Prescott will command the warmest sympathy; and Uncle Davie and the stage- 
struck Silas will evoke an easy laugh. In professional hands this piece has been a big 
success. 

Price 25 Cents. 

SYNOPSIS. 

ACT I..— Tom Manly' s Home on the Coast of Maine, "Home Sweet Home." A 
Villain's Scheme. Father and Son. " For the Land's Sake, who's that Man Bringin' 
Here?" Rose Prescott's Return. A Stage-struck Rustic. " I ' dough ' know." "Ah, 
Mother, Home Again ! " Tom's Surprise. Hammond's Vow. " She Shall be Mine! " 
The Lottery Ticket. Uncle Davie Tells His Story. Si in a Box. A Fisherman's Love. 
" Darn it, it's Something You've Got to Get Used to ! " A Villain's Proposal. The Old 
Home Threatened. The Lucky Number. " There Stands the Criminal ; I Bought that 
Ticket of Him." 

ACT II. —Scene r. Interior of High Point Lighthouse. Si and Ruth at Love- 
making. Uncle Davie Interrupts. Tom's Fortune. Too Late to Save the Old Home. 
A Wild Night. Nellie's Appeal. " Don't Go, Tom ! " The Plot Thickens. The 
Robbery. Scene 2. Exterior of Lighthouse. Into the Waves. "My God, it's 
Nellie!" Saved! 

ACT III. — Scene i. Hammond's Home. The Forged Letter. James Renews 
his Proposal. " I'd Rather Die than Marry You ! " Scene 2. Tom's Home in Boston. 
James's Visit. A Message of Love. Si's Letter. Ruth indignant. " Si, Come Right 
Here to Your Mother." Scene 3. A Child's Vision. Death of Little Nellie. "O 
God, Thy Will be Done ! " 

tl ACT IV. — Rose's Home in Maine. Tom's Disclosure. Uncle Davie's Joy. 
There's Something Wrong Here." Marriage Bells. The Accusation. " My God, 
the Fool has Found Me Out ! " " Hug Him, Ruth, He Deserves It." A Wedding In- 
terrupted " That Girl is my Daughter! " A Villain Foiled. " We're going to have a 
Wedding here yet! " A Fisherman's Luck. 



AN UNEXPECTED LEGACY, j 

A COMEDIETTA IN ONE ACT. 
By EGBERT W. FOWLER. 

One male and two female characters. Scenery and costumes very easy. A most 
amusing misunderstanding between two old sweethearts, ending very happily. Very 
crisp and bright. 

Price 15 Cents. 



B 



AKBR'S SELECTED LIST 
OF JUVENILE OPERETTAS 



Designed especially for Church, School, and other Amateur Organ- 
izations. Complete, with all the music and full directions for 
performance. 



Grandpa's Birthday. In One Act. Words by Dexter Smith; 
music by C. A. White. For one adult (mate or female) and three 
children; chorus, if desired. Price, 25 Cents. 

Jimmy, The Newsboy. In One Act. Written and composed by 
W. C. Parker. For one adult (male), and one boy. No chorus. 
Very easy and tuneful. Price, 25 Cents. 

The Four-leafed Clover. In Three Acts. By Mary B. Horne. 

For children of from six to fifteen years. Seven boys, seven girls, 
and chorus. Very picturesque. Price, 50 Cents. 

Beans and Buttons. In One Act. Words by Wm. H. Lepere; 
music by Alfred G-. Robyx. Two male and two female characters; 
no chorus. Very comical and easy. Price, 50 Cents. 

Hunt the Thimble. In One Act. Words by A. G. Lewis; music by 
Leo K. Lewis. Two male, two female characters and small chorus. 
Simple and pretty. Price, 50 Cents. 

Red Riding Hood's Rescue. In Four Scenes. Words by J. E. 
Estabrook ; music by J. Astor Broad. Three male, four female 
characters and chorus. Price, 50 Cents. 

Golden Hair and the Three Bears. In Five Scenes. By J. Astor 
Broad. Three adults (2 m., 1 f.), eight children and chorus. Music 
is easy, graceful, and pleasing. Price, 75 Cents. 

R. B. Porter ; or, The Interviewer and the Fairies. In Three 
Acts. Words by A. Gr. Lewis; music by Leo R. Lewis. Six male, 
six female characters, and chorus. Very picturesque and pretty. 

Price, 75 Cents. 

Gyp, Junior. In Two Acts. Words by Earl Marble; music by 
D. F. Hodges. Two males, one female (adult), three children and 
chorus. Very successful and easily produced-. Price, 75 Cents. 

AlvinGray; or, The Sailor's Return. In Three Acts. Written 
and composed by C. A. White. Ten characters, including chorus; 
can be made more effective by employing a larger number. 

Price, 75 Cents. 



Catalogues describing the above and other popular entertain- 
ments sent free on application to 

WALTER H. BAKER & CO., 

THEATRICAL PUBLISHERS, 

No. 23 Winter Street, - Boston, Mass. 



LIBRARY OF CONGRESS 



NEW OPERETTAS FC 



Odd Operas foi 




017 400 906 5 # 

\ i-rOTIIDL. 



A Collection of Short and Simple Musical Entertainments for Children. 

By Mrs. C. N. BORDMAN, 

Author of "The Kingdom of Mother Goose," "Motion Songs for the Schooi^- 
Room," " The Temperance Clarion," etc. 

Complete with all the music^and full instructions for performance. This collection is 
strongly recommended for its simplicity, originality of idea, tunefulness and perfect prac- 
ticability. 

Price 50 cents. 

CO^TElS"TS. 

A GLIMPSE OF THE BROWNIES. A Musical Sketch for Chil- 
dren. For any number of boys. 

JIMMY CROW. A Recitation for a Little Girl. 

MARKET DAY. An Operetta for Young People. Seven speaking parts 
and chorus. 

QUEEN FLORA'S DAY DREAM. An Operetta for Children. Si* 
speaking parts and chorus. 

THE BOATING PARTY. A Musical Sketch for Little Children. Thirty 
boys and girls. 

SIX LITTLE GRANDMAS. A Musical Pantomime for very Little 

Children. Six very little girls. 

A HOUSE IN THE MOON, A Recitation for a Little Girl. 



ROBIN'S SPECIFIC; 

OR, THE CHANGES OF A NIGHT. 
A. Christmas Operetta in One Act. 



Words by 
AMELIA SANFORD. 



Music by 
ADAM CIEBEL. 



For one adult and nine children from eight to sixteen years old, -with eight very little boys 
Jind twelve little girls for Chorus. Three changes of scene, very easily arranged, costumes 
varied hut simple and readily procured. Very effective and easily gotten up. 



Price 



25 cents. 



Catalogues describing the above and other popular entertainments sent free on application to 

WALTER H. BAKER & CO., 

THEATRICAL PUBLISHERS, 

No. 23 Winter Street, - - BOSTON, MASS. 



